Note 120 — BOOK IV. (continued 2)

In this epoch flourished in Messina one Abraham Casembrot, a Dutchman, who was considered one of the first painters of his time, of landscape, seapieces, harbours, and tempests. He professed architecture also, and was celebrated for his small figures. He was accustomed to give the highest finish to every thing he painted. The church of S. Giovacchino has three pictures of the Passion by him. Some individuals of Messina possess delightful specimens of him, though not many, as he sold them at high prices, and generally to Holland. Hence most of the collectors of Messina turned to Jocino, the contemporary of Casembrot; a painter of a vigorous imagination, and rapid execution. His landscapes and views are still prized, and maintain their value. I do not find that Casembrot wholly formed any scholar at Messina. He communicated, however, the elements of architecture and perspective to several, as well as the principles of painting. For this reason we find enumerated among his scholars the Cappucin P. Feliciano da Messina (Domenico Guargena) who afterwards studied Guido in the convent of Bologna, and imbued himself with his style. Hackert makes honourable mention of a Madonna and Child and S. Francesco by him at the church of that order in Messina, and he assigns the palm to him among the painters of his order, which boasted not a few.